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Joe Pyfer delivered a stunning knockout to Israel Adesanya in the main event of UFC Fight Night in Seattle, stopping the former middleweight champion at 4:18 of the second round. The technical knockout (TKO) finish came after Pyfer secured a takedown, which proved to be the beginning of the end for Adesanya. Before the stoppage, both fighters engaged in a fierce stand-up battle, exchanging their best punches. Pyfer's victory marked a significant upset, as Adesanya had been looking to regain his momentum in the UFC. Following the fight, Pyfer expressed his mentality going into the bout, stating, “I just have this mentality where I don’t care; I’m going to search and destroy.” This win improves Pyfer's record to 16-3 in MMA. Adesanya, who fights out of New Zealand, now holds a record of 24-6 in MMA. Despite the loss, Adesanya confirmed he has no plans to retire, stating, “I’m just going to keep going and going and going.” This was Adesanya's first fight since losing his middleweight title in April 2023. The event also featured other notable fights, including a rematch between Alexa Grasso and Maycee Barber at flyweight, which Grasso won via TKO in the first round. Additionally, Michael Chiesa ended his UFC career with a first-round submission victory over Niko Price. Other highlights from the night included Lerryan Douglas securing a TKO victory over Julian Erosa in the first round and Yousri Belgaroui earning a third-round TKO stoppage against Mansur Abdul-Malik. The main card opened with Terrance McKinney dispatching Kyle Nelson in just 24 seconds.

The recent video of McDonald's CEO Chris Kempczinski sampling the chain's new 'Big Arch burger' sparked widespread ridicule. This incident highlights a growing trend: CEOs and corporate leaders increasingly seeking to center themselves in the spotlight. This phenomenon, which can be termed 'CEOism,' raises important questions about the motivations behind it and its impact on consumers.Examples of CEOism abound. During the Super Bowl, the founder of Ring featured in the company's ad, only to face backlash for the dystopian undertones of the doorbell technology being promoted. In the sporting world, Fifa president Gianni Infantino has taken to inserting himself into high-profile events, including interrupting the start of the World Cup to give a welcoming address and unveiling the official sticker album.The reasons behind CEOism are complex and multifaceted. On one hand, companies are seeking to be seen as more relatable and approachable, which may explain why CEOs want to center themselves in advertising. On the other hand, the current cultural and political climate appears to have emboldened corporate leaders, who now seem more willing to express their opinions and insert themselves into public discourse.The article's author, Larry Ryan, expresses skepticism about the trend, suggesting that CEOs are mistaking interest in their products with interest in the people themselves. He longs for a time when CEOs focused on financial performance rather than seeking to be in the spotlight.However, some argue that audiences want to hear from the people behind brands and that 'CEOism' can be an effective marketing strategy. The success of podcasts like 'The Diary of a CEO' and social media influencers suggests that people may indeed be interested in hearing from corporate leaders.

The World Trade Organization (WTO) has convened a critical meeting in Yaounde, Cameroon, against a backdrop of global economic turmoil and rising protectionism. The organization is facing the threat of a 'disorderly collapse' if it fails to strike a new deal on global trade rules.WTO Director-General Ngozi Okonjo-Iweala warned that the old 'world order' is not returning, following a year of turmoil marked by US President Donald Trump's aggressive trade policies, including sweeping tariffs.“We will not get it back … We must look to the future,” Okonjo-Iweala said, emphasizing the need for a new approach. The global trading system is experiencing the 'worst disruptions in the past 80 years'.The US Trade Representative, Jamieson Greer, defended Trump's policies, stating that they were a 'corrective response' to a trading system that had overseen 'severe and sustained imbalances'. Greer argued that the 'new world order' would involve agreements between smaller groups, rather than waiting for consensus on a 'lowest common denominator'.The US is critical of the WTO's 'most-favoured nation' (MFN) principle, which governs 72 percent of global trade. China, however, defended the system, warning that abandoning MFN would open a 'Pandora's box'.The European Union signaled its desire to rethink MFN, citing concerns about China. UK Trade Minister Chris Bryant warned of potential fragmentation if no deal is reached on reforms, stating that ministers must 'get this week right' to avoid a 'disorderly collapse of the WTO'.

Ryan Murphy's drama series 'Love Story' has become Disney+'s most-streamed drama ever, captivating audiences worldwide with its schlocky, glossy portrayal of the doomed marriage between John F Kennedy Jr and Carolyn Bessette. The series, which consists of nine episodes, tells the story of the couple's whirlwind romance and tragic fate.The show's success can be attributed to its unique blend of camp nostalgia, paparazzi exposure, and cultural symbolism. According to TV critic Scott Bryan, Murphy's formula for success involves targeting subjects with tragic backstories and workable legal margins, which in practice means the longer they have been dead, the smoother the adaptation.The series begins as a Cinderella romance between a Kennedy scion and a Calvin Klein publicist who became the most famous and scrutinised couple in the US – and evolves into a lesson in what happens when marriage becomes a form of branding. The show's relatability factor also lies in its portrayal of universal dating themes, great hair, and a wardrobe full of Prada and Kangol caps worn backwards.Social media searches for JFK Jr and Bessette grew by more than 9,100% in the past month, according to FX, which created the show. The show's success has also sparked speculation about Murphy's next subject, with names like Brad Pitt and Jennifer Aniston, John Lennon and Yoko Ono, and Liz Taylor and Richard Burton being floated on social media.The show's impact can be seen in its ability to resonate with audiences, particularly Gen Z women, who have connected with the show's themes of relationships, style, and tragedy. As Bryan noted, 'Love Story' is 'unapologetically schmaltzy' and doesn't try to be anything more than a show that looks the part, making it a refreshing change from the usual prestige television dramas.

Billy Loughnane, on track to become Britain's youngest champion jockey on the Flat since 1909, has had his bid hit by a 21-day ban imposed by stewards at Southwell. The ban was for riding a horse back to the unsaddling enclosure after it had been scratched from a race on vets' orders.Loughnane's mount, Beelzebub, was deemed lame following a veterinary examination after being kicked at the start. Loughnane has appealed against both the finding and the penalty. If his appeal is unsuccessful, he will be sidelined from April 9 to April 30, missing key meetings like the Craven meeting at Newmarket and the Greenham Stakes at Newbury.The 20-year-old jockey, currently 6-4 to take the 2026 jockeys' championship, aims to win the title. A three-week absence early in the turf campaign will be frustrating for Loughnane. The current market sees Oisin Murphy, the reigning champion, at 4-6, with Rossa Ryan at 10-1 and others at 12-1.In other racing news, Eternal Force is a strong contender for the Lincoln Handicap at Doncaster, with trainer William Haggas having a strong record in the race. Haggas has won the Lincoln a record five times, with four of those successes coming since 2007.

Castleford Tigers produced a stunning performance to defeat Bradford Bulls in a highly entertaining Super League match. The Tigers' attack clicked into gear, with Jason Qareqare scoring a hat-trick and leading his team's charge to a convincing victory.The match was a West Yorkshire derby that lived up to expectations, with both teams showing flashes of brilliance. However, it was Castleford who ultimately dominated the game, scoring 28 unanswered points in a 10-minute period either side of half-time to transform a nervy contest into a decisive win.Ryan Carr's Castleford side had been under pressure after a heavy defeat last week, but they responded with a confident display. Carr praised his team's performance, saying, “How we played tonight is how we want to play our rugby.”In contrast, Bradford Bulls' coach Kurt Haggerty was left to ponder what might have been, saying, “You shouldn’t score 28 points in a game and lose.” The Bulls' defensive frailties were exposed, and they will need to address these issues if they are to exceed expectations in 2026.The win for Castleford was a significant one, as it moved them up the table and gave them a much-needed boost in confidence. For Bradford, the loss was a disappointing one, but they will look to bounce back in their next match.

The Republic of Ireland's hopes of reaching the 2026 World Cup were cruelly extinguished in Prague as they suffered a penalty shootout defeat to the Czech Republic. Despite leading 2-0 and 3-2 in the shootout, Heimir Hallgrímsson's team failed to capitalize on their advantages and ultimately fell to a Ladislav Krejci equalizer in the 86th minute, forcing a shootout.Ireland had started brightly, with Troy Parrott scoring a penalty and an own goal by Czech goalkeeper Matej Kovar doubling their lead. However, a needless penalty conceded by Ryan Manning allowed the Czechs back into the contest. The Czech Republic, led by captain Ladislav Krejci, equalized in the 86th minute, sending the match into extra time and eventually a shootout.In the shootout, Caoimhín Kelleher made a crucial save but Finn Azaz and Alan Browne failed to convert their spot kicks, allowing the Czech Republic to advance. Jan Kliment converted the fifth and final spot-kick to send the Czech Republic into a home final against Denmark on Tuesday.The Republic of Ireland have now lost five of their last six World Cup playoff fixtures, and the pain of this latest defeat will be heightened by the realization that it was largely unnecessary. As Heimir Hallgrímsson said, 'Just pain, we all feel pain. When you go this far it's a flip of a coin. Just pain we feel being that close.'

The connection between boxing and cinema dates back to the early days of film, with the first sports film being a 1894 short of a six-round match between Mike Leonard and Jack Cushing. Since then, boxing has been a staple of the big screen, captivating audiences with its high-stakes emotion, physical intensity, and personal turbulence.The British Film Institute's new season, The Cinematic Life of Boxing, curated by Clive Chijioke Nwonka, an amateur boxer since his childhood in London, explores this symbiotic relationship. Nwonka believes that an uncompromising hunt for realism is central to the relationship between the sport and artform, with films that interact with human experience, poverty, struggle, triumph, and boxing as a way of life.Boxing films often capture a political zeitgeist, as seen in the 1974 'Rumble in the Jungle' heavyweight championship match between Muhammad Ali and George Foreman, which was not just a fight but a referendum on ideology during the civil rights era. This fight was documented in the 1996 film When We Were Kings, described by Nwonka as 'probably the greatest sports documentary of all time'.The Rocky franchise, which has spanned six films and a spin-off series, Creed, under the direction of Ryan Coogler, is a barometer for all the films captured in its wake. The first film remains the hallmark of sporting cinema, successfully capturing the habitual experience of the sport outside its more glamorous moments.Despite the genre's popularity, boxing films are not immune to clichés, with many relying on stock characters and familiar arcs. However, the best film-makers are able to return to the core of these films: the stakes of signing up for a fight, and the physical, psychological, and real monetary costs of endurance.

Brendan Gleeson has been named best actor at the Critics' Circle theatre awards for his West End debut in Conor McPherson's pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond's bear.The Weir, directed by McPherson, was entirely omitted from the nominations for this year's Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.All My Sons, a critically adored production of Arthur Miller's 1946 classic at Wyndham's theatre, won in two categories at the Critics' Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine's Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham's Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian's theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller's Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard's Indian Ink which opened at Hampstead theatre days after the revered playwright's death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane.